Now 15 hours after taking note of the sad news, I find more time to reflecting the sad feelings of loss. I have a very extensive soundtrack collection by composers from all over the world. And in recent years, some of these composers have left us. However, I find again that it makes a significant difference how important the composer and his work were to me personally. And the period of this emotional connection is also extremely important. When I think back to the losses of the past decade, it was above all the deaths of John Barry (2011) and James Horner (2015) that touched me very personally. And even with these two composers, it is the long connection since my childhood that is undoubtedly the cause. Even after 40 years, I can easily remember the first connection between music and the names of the respective composers. My first connection between music and the name John Barry was the film THE BLACK HOLE(1980) and with James Horner the film STAR TREK II(1982).
It is therefore hardly surprising that after such a long period of emotional connection to certain composer names and thier compositions, the loss in each case outweighs that of a composer with whom one has only had an emotional connection for a few years or 1-2 decades.
Ennio Morricone is unfortunately such a name that I have been seeing as part of my life for 4 decades. In this case too, I can name the beginning exactly. 38 years ago it was the music for the TV mini-series MARCO POLO (1982) that made me a fan of Ennio Morricone. At that time I was just 11 years old and it was unusual enough that I preferred to get enthusiastic about classical instrumental music from TV series and cinema films instead of any current pop songs. In terms of my musical taste, I was a kind of outsider in my circle of friends and at school. But with heroic or dramatic music such as STAR WARS or BATTLESTAR GALACTICA etc. I was able to find some understanding and acceptance.
However, Ennio Morrione's music for MARCO POLO was completely different. And I couldn't have explained to anyone at the time why I was so enthusiastic about the music of MARCO POLO. From the soundtrack of MARCO POLO it was special the music pieces that were full of a kind of sadness that was unknown to me at the time, which delighted me for Ennio Morricone. For me as an 11 year old, it was a kind of mystery for me how I had the desire to hear this sad music again and again. And today, 38 years later, I'm listening to the 2-CD set with this wonderful soundtrack of MARCO POLO once more.
In the decades that followed, I added numerous Ennio Morricone soundtracks from the entire spectrum of his musical work (Italo Western / Giallo / etc.)to my collection, which is worth listening to again today or the next days. One of these soundtracks is LA PIOVRA (THE OCTOPUS). Here, too, Morricone had enough opportunity to show off his ability and passion musically perfectly for all the victims of the Italian mafia.
When I look back at all these sad or melancholic compositions, it is clear to me that Ennio Morricone was ... No! ... He is and will always be the king in this special field of film music. No other composer (not John Williams, not Jerry Goldsmith, not even John Barry) has consistently composed so many soundtracks with intense melancholic or sad melodies over such a long period of time!
His last composition, which managed to bring tears to my eyes, was in 2000 his outstanding music for MISSION TO MARS. In the scene in which one of the astronauts sacrifices himself to save his wife and the other two comrades, Morricone has been able to bring in his emotional part perfectly in a rather rutinous way.
The musical highlights in this track: From 6:45-8:15 + 9:20-10:10 + 11:38-End
I wanted to watch the film MISSION TO MARS again last month, but unfortunately I didn't find the time. I will definitely make up for that next weekend. I will also watch the film ORCA with Morricone's heartbreaking soundtrack afterwards.
There will be no place at my home for other composers' music in the next days. Sorry Williams/Goldsmith/Barry ... etc. soundtrack fans. This week is Ennio Morricone's week.
Trawling Amazon Prime for Maestro films, about to watch MACHINE GUN MCCAIN for the first time.
The aforementioned SKY FULL OF STARS is here, as is a smattering of giallo, TEPEPA, DUCK! YOU SUCKER, MY NAME IS NOBODY, WINDOWS....the latter two Were at least, since I had first viewings last month.
Private funeral my ass. Sorry, EM, but it does not end there. Not possible. Right now the mind's eye and ear are playing the ending of Cinema Paradiso and every clip comes from your movies and with your music. AndIblameyou. Oh and...thanks, what a eulogy!
Heartbreaking. Morricone has been a fixture of my music listening for the better part of forty years. We are however fortunate to keep his extraordinary body of work, his legacy. If you haven’t, check out any single issue of Maestro on the Chimai site- the staggering amounts of information help show Morricone’s role in the world of music in a real perspective. As a titan. Thank you for the ambitious, droll, beautiful, puzzling music. Rest in Peace Maestro Morricone.
I just stopped by Ennio's star on the Walk of Fame and for those that don't live in L.A. I thought you would like to see what is on it. A single red rose, very moving.
Trawling Amazon Prime for Maestro films, about to watch MACHINE GUN MCCAIN for the first time.
The aforementioned SKY FULL OF STARS is here, as is a smattering of giallo, TEPEPA, DUCK! YOU SUCKER, MY NAME IS NOBODY, WINDOWS....the latter two Were at least, since I had first viewings last month.
Nice to read your interesting tribute, Henry. It's difficult to give American members an idea of the legend Ennio is in Europe. No other film composer has ever achieved his status over here.
Score-Man-X, thanks for highlighting two absolute masterpieces, namely MARCO POLO & LA PIOVRA. I'm now playing the heartbreaking score for MARCO POLO. What a musical journey!
BBC Radio 4 repeated a program last night where Christopher Frayling interviewed Ennio Morricone, & one thing that came out was that it was Morricone himself that made the burp-like, waa sounds on the track, March Of The Beggars (Marcia degli accattoni) on the Giù La Testa soundtrack. He said something like, it was fun doing stuff like that, I wonder how many other soundtracks have his vocal contribution.
BBC Radio 4 repeated a program last night where Christopher Frayling interviewed Ennio Morricone...
I was lucky enough to catch that, having listened to the 11 o'clock news ... Very interesting even though it covered the well-worn path of popular hits. I particularly liked the comments about La Battaglia di Algeri (1966): not that I wasn't aware of these, it was nice to hear the Maestro praise director Gillo Pontecorvo's contribution and point out that the lovely underlying theme was minimalism before minimalism was thought of - probably romanticised but fun, nonetheless.
My Italian cousins pointed me in the direction of a concert broadcast by RAI last evening which I shall see if I can catch-up on today. Mitch
Nice to read your interesting tribute, Henry. It's difficult to give American members an idea of the legend Ennio is in Europe. No other film composer has ever achieved his status over here!
That's true. Williams and Zimmer may be on the same level of 'fame' over here, but in terms of old film composer legends, Morricone was our one big pride. And I speak for all of Europe, really, even though he was very Italian in all things.
His death has been marked by every major news outlet in Norway (I was even called to give a few statements to the obituary of the biggest Norwegian newspaper VG), and a tremendous amount of people in my Facebook circle posted yesterday -- and not only the film business/film critic circle, but people who I had no idea were interested in anything film music-related. Goes to show his incredible crossover appeal, which I touch on in my own obituary (linked earlier).
I knew this day would come in a not-too-distant future, given his advanced age, but that a fall would eventually cause his demise came as a shock, really. At least he managed to finish his 'farewell tour', which REALLY became a final farewell tour in all meanings of the word. I'm glad I got to experience him last year.
As an Italian , I can totally confirm what Stephen Woolston wrote. Here the Maestro was not "a film composer", however great, known by a community of fans. No: he was totally mainstream, an integral part of the national culture, a person that, for once, really deseverd the abused "icon" definition. I never met anyone who didn't know who he was, or some of his music. NEVER. EVERYBODY knows him, not only for the soundtracks, but also because in the 60's he wrote the music for some classic, immortal cool-pop songs, endlessly replayed and covered ever since (the most famous: "Se telefonando"). Even before his death , he was top news. Now he's being eulogized by the PM, like Stephen said, but above all by the President , that in Italy is the "personification" of the Nation, a powerfully symbolic figure revered by all. Every minutiae about his death has been top news since it happened. The "self-obituary" that I posted and translated for you guys, has been a particular subject of national debate and grief (and also shock, truth be told). All that, and I still cannot believe or accept he's really gone.
Yes, in italy he is beyond massive. A national treasure. A long-standing celebrity. Like i said he deserves a state funeral.
Every night on italian tv you hear a gameshow with a burst of his music, adverts using GBU, ecstasy of gold, etc. Its everywhere. The old generation know him from the westerns, the 40s were students when The Mission and untouchables came out and the young generation know him from Tarantino and from television.
I guess the nearest Uk equivalent would be Andrew Lloyd Webber but hes 4th division compared to Morricone's Serie A.
I guess the nearest Uk equivalent would be Andrew Lloyd Webber but hes 4th division compared to Morricone's Serie A.
I mean, I like a lot of Lloyd Webber, but compared to the pantheon of great British composers of the past, he pales. Whereas Morricone can stand shoulder to shoulder (at least in my opinion) with great Italians of the past, be it Rossini, Vivaldi, Puccini, Monteverdi, Respighi, Verdi, you name it.
Yes, in italy he is beyond massive. A national treasure. A long-standing celebrity. Like i said he deserves a state funeral.
Every night on italian tv you hear a gameshow with a burst of his music, adverts using GBU, ecstasy of gold, etc. Its everywhere. The old generation know him from the westerns, the 40s were students when The Mission and untouchables came out and the young generation know him from Tarantino and from television.
I guess the nearest Uk equivalent would be Andrew Lloyd Webber but hes 4th division compared to Morricone's Serie A.
